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THE MYSTERY OF JUSTICE
1
I speak, for those who do not believe in the existence of a unique, all-powerful, infallible Judge, for ever intent on our thoughts, our feelings and actions, maintaining justice in this world and completing it in the next. And if there be no Judge, what justice is there? None other than that which men have made for themselves by their laws and tribunals, as also in the social relations that no definite judgment governs? Is there nothing above this human justice, whose sanction is rarely other than the opinion, the confidence or mistrust, the approval or disapproval, of our fellows? Is this capable of explaining or accounting for all that seems so inexplicable to us in the morality of the universe, that we at times feel almost compelled to believe an intelligent Judge must exist? When we deceive or overcome our neighbour, have we deceived or overcome all the forces of justice? Are all things definitely settled then, and may we go boldly on: or is there a graver, deeper justice, one less visible perhaps, but less subject to error; one that is more universal, and mightier?
That such a justice exists we all of us know, for we all have felt its irresistible power. We are well aware that it covers the whole of our life, and that at its centre there reigns an intelligence which never deceives itself, which none can deceive. But where shall we place it, now that we have torn it down from the skies? Where does it weigh good and evil, happiness and disaster? Whence does it issue to deal out reward and punishment? These are questions that we do not often ask ourselves, but they have their importance. The nature of justice, and all our morality, depend on the answer; and it cannot be fruitless therefore to inquire how that great idea of mystic and sovereign justice, which has undergone more than one transformation since history began, is being received to-day in the mind and the heart of man. And is this mystery not the loftiest, the most passionately interesting, of all that remain to us: does it not intertwine with most of the others? Do its vacillations not stir us to the very depths of our soul? The great bulk of mankind perhaps know nothing of these vacillations and changes, but for the evolution of thought it suffices that the eyes of the few should see; and when the clear consciousness of these has become aware of the transformation, its influence will gradually attain the general morality of men.
2
In these pages we shall naturally have much to say of social justice: of the justice, in other words, that we mutually extend to each other through life; but we shall leave on one side legal or positive justice, which is merely the organisation of one side of social justice. We shall occupy ourselves above all with that vague but inevitable justice, intangible and yet so effective, which accompanies and sets its seal upon every action of our life; which approves or disapproves, rewards or punishes. Does this come from without? Does an inflexible, undeceivable moral principle exist, independent of man, in the universe and in things? Is there, in a word, a justice that might be called mystic? Or does it issue wholly from man; is it inward even though it act from without; and is the only justice therefore psychologic? These two terms, mystic and psychologic justice, comprehend, more or less, all the different forms of justice, superior to the social, that would appear to exist to-day.
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About the author
Maurice Polydore Marie Bernard Maeterlinck was a Belgian playwright, poet, and essayist who was a Fleming, but wrote in French. He was awarded the Nobel Prize in Literature in 1911 "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations". The main themes in his work are death and the meaning of life. His plays form an important part of the Symbolist movement.
Maeterlinck instantly became a public figure when his first play, Princess Maleine, received enthusiastic praise from Octave Mirbeau, the literary critic of Le Figaro in August 1890. In the following years, he wrote a series of symbolist plays characterized by fatalism and mysticism, most importantly Intruder (1890), The Blind (1890) and Pelléas and Mélisande (1892).
He had a relationship with the singer and actress Georgette Leblanc from 1895 until 1918. Leblanc influenced his work for the following two decades. With the play Aglavaine and Sélysette Maeterlinck began to create characters, especially female characters, more in control of their destinies. Leblanc performed these female characters on stage. Even though mysticism and metaphysics influenced his work throughout his career, he slowly replaced his Symbolism with a more existential style.
In 1895, with his parents frowning upon his open relationship with an actress, Maeterlinck and Leblanc moved to the district of Passy in Paris. The Catholic Church was unwilling to grant her a divorce from her Spanish husband. They frequently entertained guests, including Mirbeau, Jean Lorrain, and Paul Fort. They spent their summers in Normandy. During this period, Maeterlinck published his Twelve Songs (1896), The Treasure of the Humble (1896), The Life of the Bee (1901), and Ariadne and Bluebeard (1902).
In 1903, Maeterlinck received the Triennial Prize for Dramatic Literature from the Belgian government. During this period, and down to the Great War, he was widely looked up to, throughout Europe, as a great sage, and the embodiment of the higher thought of the time.
In 1906, Maeterlinck and Leblanc moved to a villa in Grasse. He spent his hours meditating and walking. As he emotionally pulled away from Leblanc, he entered a state of depression. Diagnosed with neurasthenia, he rented the Benedictine Abbey of St. Wandrille in Normandy to help him relax. By renting the abbey he rescued it from the desecration of being sold and used as a chemical factory and thus he received a blessing from the Pope. Leblanc would often walk around in the garb of an abbess; he would wear roller skates as he moved about the house. During this time, he wrote his essay "The Intelligence of Flowers" (1906), in which he expressed sympathy with socialist ideas. He donated money to many workers' unions and socialist groups. At this time he conceived his greatest contemporary success: the fairy play The Blue Bird (1908, but largely written in 1906). After the writing "The Intelligence of Flowers", he suffered from a period of depression and writer's block. Although he recovered from this after a year or two, he was never so inventive as a writer again. His later plays, such as Marie-Victoire (1907) and Mary Magdalene (1910), provided with lead roles for Leblanc, were notably inferior to their predecessors, and sometimes merely repeat an earlier formula. Leblanc, clearly, was no longer an inspiration to the playwright. Even though alfresco performances of some of his plays at St. Wandrille had been successful, Maeterlinck felt that he was losing his privacy. The death of his mother on 11 June 1910 added to his depression.
In 1910 he met the 18-year-old actress Renée Dahon during a rehearsal of The Blue Bird. She became his lighthearted companion. After having been nominated by Carl Bildt, member of the Swedish Academy, he won the Nobel Prize for Literature in 1911, which also served to lighten his spirits. By 1913, he was more openly socialist and sided with the Belgian trade unions against the Catholic party during a strike. He began to study mysticism and lambasted the Catholic Church in his essays for misconstruing the history of the universe. By a decree of 26 January 1914, his opera omnia were placed on the Index Librorum Prohibitorum by the Roman Catholic Church.
When Germany invaded Belgium in 1914, Maeterlink wished to join the French Foreign Legion, but his application was denied due to his age. He and Leblanc decided to leave Grasse for a villa near Nice, where he spent the next decade of his life. He gave speeches on the bravery of the Belgian people and placed guilt upon all Germans for the war. Although his patriotism, and his indifference to the harm he was doing to his standing in Germany, do him credit, it severely damaged his reputation as a great sage who stood above current affairs. While in Nice he wrote The Mayor of Stilmonde, which was quickly labeled by the American press as a "Great War Play" and would be made into a British film in 1929. He also wrote The Betrothal, a sequel to The Blue Bird, in which the heroine of the play is clearly not a Leblanc archetype.
On 15 February 1919 Maeterlinck married Dahon. He accepted an invitation to the United States. Samuel Goldwyn asked him to produce a few scenarios for film. Only two of Maeterlinck's submissions still exist; Goldwyn didn't use any of them. Maeterlinck had prepared one based on his The Life of the Bee. After reading the first few pages Goldwyn burst out of his office, exclaiming: "My God! The hero is a bee!"
After 1920 Maeterlinck ceased to contribute significantly to the theatre, but continued to produce essays on his favourite themes of occultism, ethics and natural history. The international demand for these fell off sharply after the early 1920s, but his sales in France remained substantial until the late 1930s. Dahon gave birth to a stillborn child in 1925.
